The Taking Part 25

Beyond this threshold lay a small landing, pale wood stippled with crimson. She hesitated to set foot upon it, leaned through the doorway instead.

A cold draft rose past her, redolent of a scent that she had never before encountered and that she would have been hard-pressed to describe. It was not a foul smell, in fact not even unpleasant, and yet disturbing.

A cramped flight of steep wooden steps descended to a lower landing, from which a second and shorter flight turned left into the cellar.

Apparently, they had taken no candles beyond the receiving room. Only the flashlight brightened the stairs.

The thought of her neighbors' blind descent struck such pity in Molly that her knees weakened.

O dark dark dark. They all go into the dark.

She could not see the last few treads of the lower flight. The cellar lay entirely beyond her view, and she could not angle the beam in any way to illuminate that s.p.a.ce.

Though I walk through the valley of the shadow of death, I will fear no evil.

Easier said than done. Fear half throttled Molly, and she had not yet entered the walled and stepped valley before her.

To learn the fate of those who had marked this route with their blood, to discover if Ca.s.sie was alive-and the whereabouts of her three guardian dogs-Molly would have to go down at least as far as the lower landing. Once there, she could stoop to the best vantage and with her flashlight pierce the darkness in the lower chamber.

She couldn't decide whether this was a test of her courage or of her wisdom. Under the circ.u.mstances, prudence might be the good thing, the right thing; but how difficult it was, in the quick, to tell the difference between prudence and cowardice.

Not the faintest murmur rose with the curiously scented draft. Not a sigh. Not a cough. Not a whimper. Not a word of whispered prayer.

With forty people pressed into a cold storeroom, a sound or two of discomfort might be expected, an agitated movement motivated by distress.

Although the thunder of forty fearful hearts might be entirely contained in forty b.r.e.a.s.t.s, surely the frightened breathing of so many would raise a betraying susurration. Not all of them would be holding their breath simultaneously, waiting for Molly to stop holding hers.

Yet, coiled in a stillness deeper than mere silence, the tavern cellar waited in a hush.

Her mouth seemed too dry for speech, but she worked up a simple question: "Ca.s.sie?"

The cellar took in the name and gave nothing back.

Sweat as cold as ice water trickled along her right temple and curled around her ear.

She raised her voice because she had previously spoken in little more than a whisper: "Ca.s.sie?"

A response came not from the girl, not from the realm below, but from the receiving room behind Molly: "I can bite, but I can't cut."

47.

CROUCH, PIVOT, POINT, SQUEEZE, ALL IN ONE fluid action: Molly did the first three, checked herself halfway through the trigger squeeze, and did not shoot the woman.

Clarinetist, lover of swing music, waitress at Benson's Good Eats, twentysomething, dark-haired, gray-eyed, Angie Boteen stood in the receiving room, naked, holding a broken Corona bottle by the neck.

"Always been squeamish, especially about knives, razor blades...broken gla.s.s," Angie said.

She sounded like herself, yet didn't. She looked like herself, yet wasn't. Anxiety in her voice made it real, but at the same time she seemed to be dreaming on her feet, detached.

"I need to be cut, I want to be cut, I want to obey, I really do, but I've always been afraid of sharpness more than anything."

Relying on the candles, Molly shoved her flashlight under her waistband, in the small of her back, freeing both hands for the gun.

"Angie, what the h.e.l.l happened here?"

Ignoring the question, as if she didn't hear it, Angie Boteen appeared to have stepped out of the dance of life, out of the still point, and stood in the past: "When I was six, Uncle Carl, he cut Aunt Veda 'cause she cheated on him, slit her throat. I was there, saw it."

"Angie-"

"She lived, croaked when she talked, scar on her throat. He went to prison, and when he got out, she took him back."

Molly felt as naked as Angie, exposed, standing in this doorway with the bas.e.m.e.nt stairs at her back.

"After prison, people treated Uncle Carl different. Not worse. More careful, more respectful."

Reluctant to look away from Angie Boteen, Molly nevertheless glanced back, to her left, and down. No one on the stairs.

Refocusing on Angie and on the jagged bottle, she discovered that during this moment of distraction, the woman had taken a step toward her.

"No closer," Molly warned, thrusting the pistol at arm's length, in a two-hand grip.

In the globes on the floor, inconstant candle flames leaped, languished, and leaped, fattened and thinned, so upward across the woman's face flowed light, flowed shadow, continuously distorting, making it difficult for Molly to read her expression.

"So then what happened," Angie said, "is I hook up with Billy Marek, he's been in trouble with knives, cut some people, done time."

Under the appearance of a trance, repressed emotions tore at the woman and could be detected in her voice. Anguish. Anxiety. Wild terror on a choke chain. But what other sensibilities did the fluctuant candle flames disguise? Psychotic needs? Anger? Homicidal rage? Hard to tell.

"I know he'll never cut me 'cause I'll never cheat, but people respect him, so they respect me."

Although Molly had a moment ago checked the stairs, already she imagined an ascending presence. Maybe it wasn't imagined. Maybe it would be real this time.

"He cut someone for me once," said Angie. "I wanted it done, and Billy did it. I felt bad later. I was sorry later. But he did it. And he would've done it again if I asked, and that made me feel safe."

Molly eased out of the doorway, to the left, her back against the wall, putting distance between herself and the naked woman but also between herself and the stairs.

"If he was here," Angie said, "I'd ask him, and he'd cut me, Billy would, he'd cut me just right, not too deep, so I wouldn't have to do it myself."

Molly could almost believe madness was in the air: contagious, carried on dust mites, easily inhaled, following a path of infection straight from lungs to heart to brain.

Reminding herself of her purpose, trying to get control of the situation, she said, "Listen, there was a little girl here earlier. Her name was Ca.s.sie."

"I want to obey, I really do, I want to obey and satisfy like the others. Will you cut me?"

"Obey who who? Angie, I want to help you, but I don't understand what's going on here."

"The cuts are an invitation. They cl.u.s.ter at the cuts. They come in through the blood by invitation."

Fungus, Molly thought. Molly thought. Spores. Spores.

"Thousands of them," Angie said, "coming through the blood. They want to be in the flesh, in the live flesh for a little while, before I'm dead."

Even if the bolero of shadows and candlelight had not flung distortions across Angie's features, the woman's dementia would have prevented Molly from reading her emotions and inferring her intentions.

"Angie, honey, you've got to put down the bottle and let me help you." Molly didn't have to fake compa.s.sion. In spite of her fear, she was shaken by sympathy for this distraught and confused woman. "Let me take you out of here."

This offer was met with agitation, anxiety. "Don't bulls.h.i.+t me, you b.i.t.c.h. That's not possible, you know it's not. There's nowhere for me to go, nowhere to hide, nowhere, ever. Or you, either. You'll be told what to do, you'll be told, and you'll do it or suffer."

The cold concrete wall against Molly's back pressed its chill through her clothes and into her flesh, her bones, brought winter to her spirit. She was s.h.i.+vering and couldn't stop.

"I've got to obey." A long harrowing groan came from her, and she struck her b.r.e.a.s.t.s with one fist. "Obey or suffer."

With growing desperation, Molly tried again: "Ca.s.sie. A nine-year-old girl. Blond hair. Blue eyes. Where is she? Where is she?"

Angie glanced toward the bas.e.m.e.nt stairs. Her voice was sharp, urgent: "They're all below, they made the invitation, they cut, they cut, they opened their blood."

"What's happening down there?" Molly demanded. "Where will I find the girl if I go down there?"

Holding out her left hand, palm up, Angie said, "I bit. I bit so hard, and there's blood."

Even in the s.h.i.+mmering deceptions of candlelight, the teeth marks were clearly visible in the meaty part of the woman's hand, and thick clotted blood.

"I can bite, but I can't cut. I can bite, and there's blood, but that's not acceptable, because I was told to cut. cut."

Stepping between the candle globes, she moved toward Molly, and Molly backed off, circled away.

Offering the broken bottle, the jagged end still first, Angie said insistently, angrily, "Take this and cut me." "Take this and cut me."

"No. Put the bottle down."

Sorrow welled in those mad eyes. A warm salty tide brimmed, spilled. Anger instantly became despair and self-pity. "I'm running out of time. He's going to come up those stairs, he's going to come back for me."

"Who?"

"He rules."

"Who?"

Her eyes burned red in scalding tears. "Him. It. The thing."

"What thing?" Molly asked.

Hot tears washed years off Angie Boteen's face, and rendered it the countenance of a terrified child. "The thing. The thing with faces in its hands."

48.

THE HOSPITAL OF ST. MARY OF BETHLEHEM, which opened its doors in London in the fifteenth century, served as an asylum for the insane, was known as Bedlam, and closed its doors to that purpose in an age distant to this one, but now Bedlam existed again, and it was the entire world, pole to pole.

Maybe a creature with faces in its hands stalked the tavern cellar, something that Goya might have imagined and painted in his darkest hours, or maybe this menace existed only in Angie Boteen's mind. Whether real or not, it was real to her.

"Afraid of sharpness. I'm weak," she said. "Always been weak. I want to obey, they expect obedience, but I can't cut myself. I can bite, but I can't cut."

Molly retreated, circled, stepping cautiously among the candles, like a conjurer trying to stay within her protective pentagram.

Circling, advancing, holding out the broken bottle, Angie said, "Take this. Do me, slash me. Before he comes back." A glance at the stairs. Then at Molly. "Slash me, before he comes back angry."

Molly shook her head. "No. Put it down."

Simultaneously imploring and furious, Angie advanced: "Whatever you hate, see that in me. Whoever you envy, everything you fear, see all that in me-then cut, cut me, CUT ME! cut me, CUT ME!"

Tough as she was, tough as she always had been, boiled in terror at a young age, Molly nonetheless felt something cracking in herself, a barrier that must hold if she was ever to find Ca.s.sie, if she was to be the rescuer of children that so many children needed her to be.

Incipient tears welled in her eyes. She blinked them back, fearful that they would blur her vision. In the blur, she would be vulnerable to Angie, to whatever had driven the forty people into the bas.e.m.e.nt, to the thing with faces in its hands if it existed.

"Angie..." Molly's voice broke, speaking to the wounded child at the heart of this woman. "What've they done to you?"

Even in her madness, Angie Boteen recognized the tenderness that wrung tears from Molly. Understanding the finality of those words, she threw the bottle aside. It shattered on the elevator doors.

"Wish I was dead already." Angie began to shake as though she'd only now become aware of being naked in a cold room. "Wish I was."

Lowering the pistol, Molly said, "Let me take you out of here."

Angie stared with dread toward the cellar stairs. "It's coming."

Edging closer to the door to the tavern, Molly also aligned herself with the cellar door and raised the pistol once more.

The woman cared nothing for Ca.s.sie, only for her own plight, but Molly persisted: "A nine-year-old girl. You must have seen her. She was the only child left here."

Angie Boteen began to sink into the floor as if she were standing in quicksand.

49.